![]() 3ĭiminished sounds are a big part of Henderson’s playing and Ex. Theory nerds might define it as a Super Locrian scale with some chromaticism, but it’s simpler than that-just tension and release. You could analyze this lick closely and try to work out what scale he’s using, but I don’t think that’s the idea here because we’ve got the 5, #5, 6, b7, R, and b9 all represented. The notes might make you think of an E7alt chord, but it’s a great trick to use over an A7 to imply the V-I sound. Notice how fluidly they blend with SRV’s trademark b9 lick at the end of measure three. The 6ths we start with are a big part of Henderson’s vocabulary. ![]() 2 is still very much in the traditional blues vein, but we’re moving along the neck with some pace, so it may feel a little tricky. Vocabulary like this is really all down to players like Stevie Ray and Albert King, and while this is an essential part of Henderson’s playing, he can get way more adventurous. 1) is a straight-ahead blues idea using notes of the A minor pentatonic (A–C–D–E–G) scale, as well as the 6th (F#) thrown in on those starting double-stops for some grit. Start with “Dolemite” on Tore Down House to get a taste of some of Henderson’s best blues playing. The MIDI pickup is long gone, and instead we have some variation of Strat/Marshall/Tube Screamer. He continued with the blues theme, but gradually twisted it with greater jazz influences and some Jeff Beck-inspired tremolo sounds. From there, he released two more solo records, Tore Down House and Well to the Bone.
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